We worked in broadway (meaning the style of show, not just the street), and I met the Wiseguys folks at secondary market trade shows, but I had no idea they were this big, and to be honest didn't care.
We always got tickets long before they ever went on sale, as does almost anyone who has been in the game a while. We would buy tickets up to 18 months in advance, and we're a security blanket of guaranteed sales for the artists and venues. We thought the retail sales were always a losing bet (except for, ironically, the artists and venues that tried to fight scalpers).
When we started figuring out how to circumvent the safeguards (deciding deliberately not to use bots or "spinners" as they used to be called), we realized we didn't need to because most of the venues loved us. Just like the wiseguys, they didn't want to be in the business of scalping and arbitrage, they just wanted to move all of their tickets quickly and efficiently with as little loss as possible. So if we wanted to buy 5,000 of 10,000 seats for a show they were thrilled, and we'd get a discount. When a show was about to go on sale they'd call us. Then thy may turn around and say "sorry tickets are on the secondary market, we don't like scalpers" but usually that was PR-style BS. They wanted someone to absorb that risk.
There are certainly artists and venues (e.g. Metallica) that hate scalpers and try to fight them. But we noticed that really only eliminates the "beer money" scalpers and leaves all of the money to the more sophisticated one. I have never yet seen a system that cannot be beat by scalpers, including paperless ticketing, and I find that most venues and artists want to maximize profits and, more importantly, minimize risk anyway.